Olympus has been assigning the Zuiko name to its range of high-quality lenses since 1936. Zuiko-branded lenses were made for SLR, rangefinder, and automatic point-and-shoot cameras in medium format, 35mm, and even half-frame formats. Assessing the best of anything in photography leads to vivid debate and lots of room for subjectivity. Here are my 5 reasons why I believe Olympus knocked it out of the park with their Zuiko range, and when you look at all factors are the best film lenses ever made. Be sure to leave a comment to let me know your thoughts. 

My partner took this portrait of me on my OM-10 with the standard 50mm and Kodak Ultramax 400. While the focus is a little soft, it's a perfect example of the way this combo renders red spectacularly. 

A key reason for the resurgence in popularity of vintage lenses both for film shooters and those adapting them to digital is the individual characteristics they hold, and the Zuiko range is no exception. In my experience using the standard 50mm with a range of film stocks, reds in particular pop out whilst not bleeding or looking over-saturated. Like many lenses of the pre-digital era, the sharpness at f/1.8 isn’t on par with what can be achieved with more modern gear, but the look and feel of the image and the transitions between the in and out-of-focus zones have a creamy and progressive nature that I really love. I recently acquired the 50mm f/1.4 from a local camera company and tested it with a roll of Ilford FP4 and was impressed even further with the way the images were rendered. I can’t wait to use it again with color-negative film to see if it pops even more than the standard lens. 

While often overshadowed by more "enthusiast" offerings, the humble OM-10 gives you a small and light weight mount for the excellent Zuiko range. 

Olympus’ most famous and widely used Zuiko lenses were designed for their OM range of SLR film cameras from 1972 to 2002. Their first iteration of this design was called the M-1 but they were soon pressured by Leica into changing the name, which shows the playing field Olympus was in at the time. The OM range of Zuiko glass is extensive, but they share common design elements of a smaller size to competitors, consistency in build quality, and quirks such as the aperture dial being placed towards the front of the lens (to leave space between it and the shutter speed dial).

Compared to SLRs by Canon and Nikon, both the body and lenses made by Olympus were lighter and smaller by a significant margin. The weight of an OM-10 with the standard 50mm comes in around 645 grams, an OM-2 with the very slightly larger 50mm f/1.4 is still just 755 grams. Compared to something like a Pentax K1000 that’s over 600 grams before you select a lens, or a Spotmatic with 50mm f/1.4 over 900 grams, your neck and shoulders will love you for choosing Olympus.  

Using vintage lenses on digital cameras has boomed in popularity since mirrorless technology has evolved, but using an adapter adds bulk and weight to your rig. The compact size and low weight of Olympus lenses make them perfect for this application, and you may find they allow you to get a perfect balance point as well as crisp images. Speaking of small, the Olympus Pen half-frame film camera is so diminutive most who are uninitiated have trouble believing it’s a true SLR. The half-frame lenses are tiny and can also be adapted to some digital cameras, but if you’re planning to do this check before buying as there are variables in compatibility so do your research first. 

An Olympus OM-2 in black with the brilliant 50mm f1.4 mounted. 

If you do a Google search you can find people who believe vintage Zuiko Lenses can hold their own in image quality and sharpness against those of Leica from the same era. That’s not a debate I’m willing to get into, but considering the disparity in cost between the two brands, the fact that it’s even a discussion point is my second reason Zuiko is the best overall film era lenses. While you may pay Leica money for a mint condition Zuiko 50mm f/1.2, the f/1.4 and even f/1.8 that came standard on many bodies are widely available, can be found for bargain prices, and will produce images that I believe any discerning photographer could be proud of.  

A picture I took of my son using the 50mm f1.4 on Ilford FP4.

Alongside their film cameras, Olympus built its reputation making high-quality imaging equipment such as microscopes for medical and scientific purposes. This demand for precision undoubtedly trickled across to their vintage Zuiko range as you won’t find a single lens in the line-up that isn’t built to a very high standard, unlike some of the cheap plastic kit lens offerings available today.  

Notice the shutter speed adjustment near the lens mount and the aperture ring towards the filter thread on the OM-2. 

While I love the 50mm focal length in the OM system, there is an extensive range of primes available including a 28mm f/2, 350mm f/2.8, and everything you can imagine or need in between. I recently tested the 40mm f/1.4 on an Olympus Pen FT and was so blown away by the results even in half-frame format that I immediately announced to my family I wanted one for my upcoming 30th birthday.  

The depth of red color rendition even the standard 50mm zuiko lens can create has taken my breath away many times when first viewing the scans. This image was created with CineStill Film's new 400D. 

Whilst I am partial to the Pentax range of Takumar lenses with their beautiful and unique results, I just can't go past the OM system and the range of Zuiko glass to pair them with. Let me know your thoughts in the comments below on these film-era Zuiko range of Olympus lenses and share other brands you enjoy using when shooting film or adapting to digital cameras.    

Lucy Lumen is an avid analog shooter and content creator on the sunny Gold Coast of Australia. Lucy spends most of her time sharing her adventures in film photography on her YouTube channel and has now ventured into the world of podcasting, where she interviews fellow photographers about their creative process and inspiration.

All lenses are a series of compromises. These compromises are far more pronounced in vintage lenses - before the advent of computer aided design and manufacture masterpieces of clinical perfection. The consequence of this is each lens has its own character.

It's not a question of which is the "best", it's a question of which tool is the best fit for your creative vision.

Betteridge's law of headlines states: "Any headline that ends in a question mark can be answered by the word no."

I will hold the Zuiko macros, especially the 50/2 and 90/2, up against any lens, macro or otherwise, from any maker for any format. They used every bit of their expertise on them, and it shows. I got the 4/3 OM adapter specifically so I could use my 50/2 macro on my E410, and when I get an OM-5, I'll put it on there, too.